中国画应该从整体看是一幅画，分开看，都不是画，是书法。
Chinese painting should be a picture from the whole. It is neither painting nor calligraphy.
书法关过不了，画法关也过不了。金石、书法、诗文，画画的人都必须熟悉。书法是笔墨艺术，因此与绘画一样，有真感情就美，矫揉造作则丑。
Calligraphy can not pass, painting can not pass. Gold, calligraphy, poetry, painting must be familiar with. Calligraphy is the art of painting and calligraphy. Therefore, like painting, true feelings are beautiful and affectation is ugly.
书法柔媚者，世以为美，其实极丑。大凡人无独立之人格，其艺术则柔媚，既无独立人格，何来美？写字要真下功夫，不能光写字。
Calligraphy Roumei, I think good, actually very ugly. A person who has no independent personality, the art is lovely, no independent personality, what Laimei? Write really hard, can not just write.
《平复帖》
"Calm down"
写字有下苦功夫一派，所谓“闭户数年，埋笔成冢”，如邓石如、包世臣等到人。但不可忽视看帖功夫，多看多想，然后有得。如一味以为只要多写便可写好，则八字先生天天写干支，道士常年作阴骘文，可写成书家么？苦功固不可废，而尤须多看多想，多看古碑帖，得其神理。古人所谓“心摹手追”，须心摹有得然后手追有成。
Writing has a hard time, a faction, the so-called "closed years, buried pen into a grave", such as Deng Shiru, Bao Shichen wait until people. But can not be ignored kantie Kung Fu, want to see more, and have. As a thought that as long as the writing can be written, is eight every day to write Mr. monk as perennial Yinzhiwen, heavenly stems and earthly branches, can be written as a calligrapher? Hard work can not be solid waste, and in particular to want to see more, see more of the spirit of ancient rubbings. The so-called "consider and follow", must have heart g and then hand to chase.
初学写字下笔要重，以后则要越写越轻，若不费力。如初学即轻，则会越来越轻，越写越浮了。
Learning to write to write, then to write more light, if not laborious. If the beginner is light, it will become lighter and lighter, and the more it writes, the more it floats.
写字最初要求重、雄强，不要去追求清秀，易飘。
Write the initial requirements of heavy, strong, not to pursue delicate and beautiful, easy to float.
《急就章》
"Hasty"
金石书画皆以雄强为第一。有人谓雄强即有气势，此不尽然。如黄山谷之字，剑拔弩张，可称雄强乎？《急就章》含蓄丰润，可谓不雄强乎？实则黄字骨多肉少，内蕴单薄，其心胸在柳公权之下，不能算雄强。雄强者，是内健，是生命力长久，比不垮。书法中，钟、张属雄强，雄强之反面是纤弱，一比就垮。
With the strong male as the first stone painting. Some people say that the strong male is imposing, this is not true. Such as the Mount Huangshan Valley, at loggerheads, can dominate strong? "Improvisation" is not implied rich, strong? But the word Yellow Bone less meat, intrinsic thin, his mind on how, not strong. A strong man is an interior, but a life that is long and stronger. In calligraphy, Zhang Shuxiong bell, strong, strong negative is delicate, than the collapse.
学写字既要学雄强一路的，也要学浑涵的，既要学粗笔的，也要学细笔的。如果全学豪放一路，则将失之于野。
Learn to write, both to learn strong, all the way, but also to learn the culvert, not only to learn the rough pen, but also to learn fine pen. If all learning bold and unconstrained, all the way, will be lost in the wild.
一幅书法须有整体之妙。整体之妙在于风神。
A piece of calligraphy must have a wonderful whole. The beauty of the whole lies in the wind.
初学书法绘画，重在大方，格局要高，好坏尚在其次。
Beginners calligraphy, painting, focusing on generosity, the pattern should be high, good or bad is still secondary.
字总要写得开展，要大方、华贵。只要悟通一种方法，即可以随便写都成。
Words should always be written, generous and luxurious. As long as you understand a method, you can write whatever you like.
八大山人书法
Badashanren calligraphy
八大山人、石涛的书法好，根源在其胸襟开畅。与他们比较，颜、柳、欧、苏、黄、米、蔡诸人都是羁绊太大，即有佛家所谓“障”——名利障，各种障。
Badashanren and Shi Tao's calligraphy, its roots in the open mind. Compared with them, Yan, Liu, ou, Su, Huang, MI and CAI are all too fetters, that is, the Buddhist so-called "barrier" - fame, obstacles, obstacles.
书与画，无论结体、用笔都要独特，要变化莫测，使人不可见其端倪。
Calligraphy and painting, whether Jieti, pen are unique, to make people invisible change constantly, its clues.
写字需通六书。通六书则了解造字原料，可以把字抖得散，挼得拢，如以面做包子，可随意拿捏。能有组织五千字的功夫就了不得了。不能死抱住别人的字体，要能自己造形。
Write through six. Through six know making raw materials, can put the word shaking loose, rub tight, such as noodles steamed stuffed bun, can feel free to play. The ability to organize five thousand words is great. Can not die holding other people's fonts, to shape their own.
少时听陈步鸾先生言：写字是素养之一项，写字是习静。人一天动多时，要能静，写字虽也是动，然动中有静。长期写字，能变化人之气质而不自知。
Listen to Mr. Chen Buluan when he is short: writing is one of literacy, writing is learning. The person moves for a long time, must be able to be quiet, writes, although also moves, but moves in has the static. Writing for a long time can change people's temperament without knowing it.
《食鱼帖》
"Fish."
中锋，是笔毫直。即使笔管倒着，只要毫还是直的，也是中锋。侧锋，是笔毫偏。即使笔管是直的，只要毫是偏的，也是侧锋。
The center pen is straight. Even if the pen is upside down, as long as it is straight, it is also a center. The side front is pen biased. Even if the pen pipe is straight, as long as it is biased, but also side feng.
过去论书法的人讲，某书家写的字对日观之，中心有一黑线，便是中锋用笔的典范，这是无稽之谈。
In the past people speak a calligraphy, calligraphers writing in view, the center has a black line, is a model center pen, this is groundless statement.
书法用凿笔倒锋向外行，运笔如刀，近人书法常如此。余见于右任、谢无量、马一浮写字都是如此。
Chisel calligraphy pen down front to the layman, such as calligraphy pen knife, so often. I see, Yu Youren, Li, and Ma Yifu write the same.
书法每苦落笔为难，虽云峻落逆入，亦言其意耳，欲寻模范，仍当于汉分中求之。
Each write calligraphy bitter difficult, although Jun fall against the income, it is also the ear, to find a model, when still in the Han in the.
常人写楷书慢，写草书快，其实要楷书写得快，草书写得慢，要达此境很难。草书行笔应裹行，不得直来直去。
People write regular script cursive writing is slow, fast, in fact, to the script write fast, cursive write slowly, very difficult to achieve this exit. Should be executed for wrapping, not straight.
写楷如写草，写草如写真。楷是楷模，本篆书而来。楷书，不能只就唐宋说，隶书、八分书也是楷。
Write write write Junkai such as grass, grass such as photo. Kai is a model, and the seal. Not only is the script, official script, Tang said, eight book is kai.
《石门颂》局部
Ode to Shimen
写行书要慢笔多，快笔少。
Write script to slow pen, pen less fast.
邓石如书法功力虽深，但缺少天趣，多技术性，缺艺术性。
Deng Shiru calligraphy skill is deep, but the lack of interest, lack of technology, art.
伊秉绶《郙阁颂》，气度大，乍一看会觉得不好看，这是其美内蕴。一般的人写字，用笔总是躲躲藏藏，他写来笔笔丢伸，无一点取巧处。画画亦需如此，总要解衣磅礴，大气盘旋，不去着重细部才好。
Yi bingshou "court homecoming", bearing large, at first glance will feel not good-looking, this is the beauty of connotation. The average person writing pen are always hiding, he wrote to Bibi lost a point at one stretch, No. So also need to draw, Jieyibangbo, air circling, not to focus on details of it.
何子贞以篆笔写隶书，很好。
He Zizhen to seal the pen to write the official script, very good.
学字学画都不能但求形似。何子贞写的《张迁碑》、《石门颂》，都不是《张迁》、《石门》本来的样子。这一点可以启发学画的人。清杨岘山写《礼器碑》得其神，入化境。
I can only learn words like. He Zizhen wrote the "stele of Zhang Qian", "Shimen song", not "Zhang", "Shimen" originally. This can inspire the people. Qing Yang Xian wrote "ritual monument" to the God, the transformation.
吴昌硕隶书
Wu Changshuo Li
吴昌硕隶书有天趣。
Wu Changshuo has a natural script.
近世书家中学北魏碑的，公孙长子是第一人，此人有才气，富收藏，成就在赵之谦之上。
The modern calligraphers School North Weibei, the eldest son of Gongsun was the first person who has talent, rich achievements in the collection, Zhao Zhiqian.
郑孝胥、丰子恺、于右任、谭延闿之书法，均属第一流，然就中较之，郑为最，丰次之，于、谭最后。盖郑、丰写来若漫不经意，似儿童；于字气势大，难点多。好的书法，应若佛祖，见之使人生恭敬之心而不觉可畏。只是气势大，则若睹大官，只见其容仪威严，尚看不出他的德。我们常叹道：“啊！这树多大！这山多大！”而从不说“这天多大”，“这地多大”。以其乃真大，而人遂不觉其大也。于德于艺均如此，使人不觉其大者乃真大。
The calligraphy of Zheng Xiaoxu, Feng Zikai, Yu Youren and Tan Yankai belongs to the first class, but in comparison, Zheng is the most abundant and the second is the last. Geni, Feng wrote if carelessly, like children; in the word momentum, difficulties. A good calligraphy should be like the Buddha, who sees the reverence of life and is not afraid of it. Just to see the big momentum, magnifico, saw its appearance dignified, still do not see his De. We often sigh, "ah!"! How big is the tree?! What's the size of the mountain?!" And never say, "how big is this day?" "how big is it?"". For it is so great that man does not think it is great. In Germany and art are the same, so that people do not think the big ones are really big.